s of the
cathedral were in their nature transeptal from the beginning. But they
were quite separated from the body of the church, the arches connecting
them being filled in with strongly built masonry, forming a complete
wall. But Quivil, wishing to enlarge the interior of the building, took
down these walls, and he set about altering the arches and converting
them into the same Decorated style to match this work in the rest of the
building. He also altered and transformed the Norman chapels that
projected on the east side of each transept. In the north transept one
window and two narrow doorways still betray their Norman origin. The
open galleries in each transept are connected by a passage with the
clerestory. This, too, is Quivil's work, and his windows in the two
chapels of St. John and St. Paul, easily distinguishable by their
wheel-shape, are interesting.

Here is Chantry's fine statue of the Devonshire artist Northcote, and a
tablet to the memory of the men and officers of the 20th (Devon)
Regiment who fell in the Crimea. Visitors will notice with interest a
fairly successful mural painting representing the resurrection, the
soldiers in armour being drawn with considerable spirit.

#Sylke Chantry# is in the north transept. Sylke was a person of
considerable importance in his day, and one who deserved and obtained no
little honour from his contemporaries. He administered the affairs of
the diocese as vicar-general during the absence of Bishop Courtenay, and
also during that of Bishop Fox. In 1499 he was made precentor, and held
that office till his death. The priests, grateful for the efforts he had
made to further their comfort, decided to keep his obit. The abbot and
convent of St. Mary of Cleeve, in Somersetshire, willing to show their
sense of obligation to him and Canon Moore, gave yearly to the Dean and
Chapter the sum of L6 13s. 4d. to be spent in celebrating their
anniversary. Sylke's tomb represents a very ghostly figure with the
epitaph, "Sum quod eris, fueram quod es, pro me, precor, ora." The
chantry is in the style of the later Gothic, and is one of those "final
touches" to the cathedral Archdeacon Freeman esteems so happily imparted
to it. The ancient works of the thirteenth-century clock, upon the north
wall, have been placed in this chantry, the machinery being in motion
though it does not now work any part of the actual clock. The various
parts are of different dates; the oldest wheel has been wo